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VO LUM E 11 

N UMB E R 3 



Jos. Lefebvre: Flemish Publisher of 
Pop-up Books with Artia and Carvajal 

Francois de Geest 

Mr.and Mrs. Joseph Lefebvre 

Three interviews with Mr. Lefebvre were conducted in 
his house in Kortrijk [BelguimJ. Although now in his 
eighties, he still remembers most details of his working 
life as a publisher. He gave me the information for this 
article, a first version of which was commented on and 
corrected by him. J wish to greatly thank Mr. and Mrs. 
Lefebvre for the pleasant and informative visits at their 
Kortrijk apartment. ' 

Mr. Joseph Lefebvre (born 1920) was one of very few 
distributors of pop-up books and was later the initiator of 
original ones in Flanders, the Dutch language part of 
Belgium. Starting at the end of the 1950s with the 
distribution of Dutch editions of the books of Vojtech 
Kubasta as produced by Artia in Prague. He initiated, as 
a publisher, the design and production of a series of 
colorful "pan oram abooks" based on Disney characters in 
the early 1960s. In the same decade the well-known 
Belgian artist Jose Vermeersch illustrated another series 
of four fable pop-ups for Lefebvre's publishing house. In 
the early 1970s more Disney pop-up books were designed 
and published. But the highlight of his production - 
marking at the same time the end of his activities in the 
field -came in the 1970s when he was responsible for the 
now sought-after pop-up editions of the comics Lucky 
Luke ("produced by Artia, Prague) and Asterix (produced 
by Carvajal, Cali, Colombia). 

Before and shortly after 1958 - Vojtech Kubasta 

Since his father had a stationer's shop and a modest 
wholesale trade in stationery in Kortrijk on the river Leie, 
near the French border (one of the fabulous historic towns 
for which Flanders is famous), little boy Joseph Lefebvre 
grew up amidst all kinds of paper, cardboard, writing 
materials, etc. He especially remembers the coloring books 
that were an essential part of his father's business. In the 
mid- 1 930s young Jos started working in his father's business 
and before World War II he had already been taken by his 
father to the factories and the fairs of their trade products in 
Berlin and Leipzig to thoroughly learn the ins and outs of 
the profession. 

Once he became his own boss, after the retirement of his 
father in the 1950s, he concentrated on the wholesale trade, 
closing down the little stationer's shop. The coloring books 
(" the lack of text not bound to any country...") proved 
to be especially big business for him in the 1950s and he 
exported them as far as South America. 

Mr. Lefebvre remembered where he first saw pop-up 
books. It was at the 1958 World Exhibition in Brussels, the 
first one after World War II where almost all countries of the 
world showed the products of their new industries, raised 
from the ashes of that disastrous period in history. In the 
Czechoslovakian pavilion the Prague publishing house of 
Artia, responsible for the publication, marketing and 
distribution of the national cultural products within the new 
socialistic economy of the country, showed its products: art 
books, gramophone-records, musical scores, children's 
books and the first five or so "panoramic books" as 
designed, illustrated and paper engineered by Vojtech 
Kubasta since 1956. He liked the kind of books but it didn't 
occur to him to think of distributing or producing them. 

What he thought of was to enlarging his assortment of 
stationery, coloring books and postcards, seeing that the 
Disney characters were growing in popularity in Europe in 
the mid-1950s. Contacting the Paris Disney license office 
proved lucky: the exclusive Disney licenses for the Benelux 
countries (Belgium, the Netherlands and Luxemburg) were 
still available and Lefebvre acquired them. Planning to 
distribute in Belgium and Luxemburg himself, he searched 
for an agent in Holland. Through the Belgian Department of 
Foreign Trade he succeeded and a salesman from Utrecht 
was contracted. 2 Continued on page 2 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of the 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, Movable Book Society, P.O. Box 
1 1654, New Brunswick, New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is November 15. 

Lefebvre, continued from page 1 

By happy coincidence the man also proved to be the 
Dutch representative of Artia, Prague, offering their 
products to the trade, especially the pop-up books by 

From him Lefebvre learned about the difficulties of 
Cold War trading with a state run company in a socialist 
country: commercial agreements with those countries were 
lacking, bureaucracy reigned, proofs of solvency were 
requested and took time to be controlled, payment on 
delivery was requested - above in hard currencies - and 
massive quantities had to be ordered. But he also learned 
about the earlier successes of the distribution of the first 
Kubasta titles in the Netherlands. 

In spite of all of the obstacles he decided to take a 
chance. But first he wanted to research how to safely 
manage the required large quantities. He found a partner 
in the Kortrijk company of Kerkhof-Grijspeerdt, a 
wholesaler supplying a large chain of small stores in 
Flanders with groceries and domestic utensils. In stores 
like these it used to be the custom to give stamps 
according to the amount paid for the purchases. The 
customer had to paste the stamps on a matching card and 
the completed cards were exchanged for a token or for a 
premium article (effectively a way of registering customers 
and a offering good customer discount all in one). 
Kerkhof-Grijspeerdt, by good fortune, decided to take the 
Kubasta books for premiums for the stamp cards of their 
groceries so now Lefebvre could order a huge quantity! 

Ten titles in Dutch were ordered from Artia from the 
usual fairy titles: Little Red Riding Hood, Snow White, 
Hansel and Gretel, The Sleeping Beauty, Puss in Boots, 
Cinderella, The Tinder Box and The flying Trunk. 

Additionally there were the two back-to-back books The 
Three Little Pigs & Goldilocks and Jack and the Beanstalk 
& Hop O' My Thumb. Once all the needed formalities were 
completed, the books arrived by train in Kortrijk, in sealed 
carriages and opened only by customs officers after the proof 
of payment was shown. 

For a colophon, including the publisher's vignette, all 
copies have: 


Tekeningen door V. Kubasta 

© 1960 by ARTIA Prague 

voor Jos. LEFEBVRE Uitgever 


1960 is the copyright date of all copies of this delivery. 
Above the series there are the (usual) Artia product 
numbers: 721-730. Some titles have an additional 
numbering: Little Red Riding Hood, for example, has 721/2 
and Snow White has 722/3, indicating that there already had 
been a first, respectively, a first and second edition in Dutch 

Needless to say, these Kubasta books have the eight 
spreads known from all the early editions, the linen spines 
and the movable part in the front covers. The two back-to- 
back titles have only four spreads for each story, therefore 
movable parts in both covers. 





[Hans en Grietje 




De gelaarsde kat 




Drie kleine biggetjes & Goudhaartje 


Klein Duimpje & Jan en de bonenstaak 


De tondeldoos 


De vliegende koffer 


As said, the complete editions of the first delivery - 
"some 40 or 50 thousand copies" - went to Kerkhof- 
Grijspeerdt, for premium purposes. So, none of these books 
were available through the regular bookshops! 

Continued on page 12 

Barbara Valenta, (1937 - 2003) 

Barbara Valenta, 66, an internationally-renowned 
artist, teacher, and author of Pop-o-Mania: How to Create 
Your Own Pop-ups died on August 1, 2003. 

Born Barbara Simons in 
Manhattan, she moved to 
Larchmont, N.Y., as a child, 
and to Weston, Conn., in the 
early 1950s. Growing up in 
New England, she crafted 
water colors which captured 
the dark, brooding beauty of 
the countryside, becoming 
the youngest member ever of 
the American Water Color 
Society. She graduated from 
Sarah Lawrence College in 
Bronxville, N.Y., with a 
bachelor's degree in liberal arts. 

Following her calling to the life of an artist, Barbara 
relocated to Los Alamos, N.M., in 1960, drawn by the 
beauty of the vast American southwest. There she met her 
husband of 41 years, Milton Valenta, and began a series 
of provocative kite-like wall hangings, which suggested 
flight. She received widespread critical acclaim for her 
work, and eventually turned her talents to the sculpture of 
wood and steel. She moved to Vienna, Austria, in 1969, 
where her powerful expression of the strength and 
efficiency of the internal combustion engine won her first 
prize in an international contest honoring the 100th 
birthday of the automotive pioneer Ferdinand Porsche. 

The Valentas moved to Montclair, N.J., in 1981 and 
settled in New Brighton, N.Y. in 1984. She began her 
involvement with the city program "Studio in a School," 
where she brought art classes to Latino students in East 
Harlem and to students on Staten Island. Barbara also 
taught paper engineering at the former Brooklyn campus 
of the Pratt Institute. 

While living on Staten Island, Barbara became an 
enthusiastic affiliate of the Snug Harbor Cultural Center. 
She hosted many craft workshops at the Staten Island 
Children's Museum, which is also the site of her 
child-friendly interactive sculpture, "The Wagon." Mrs. 
Valenta held exhibits of her work in the center's ArtLab, 
and served on the panel of the Council on the Arts and 
Humanities for Staten Island. 

She is survived by her husband, Milton and daughter, 
Markha Valenta. 

7Ae J/ovod/e /?oo£ Society 

Invite entries for an exhibition of 
Handmade Movable Artist Books 


Engineering Sculpture Into a Book Format 

£<&Ad$d^M J>cAe€$td& 

The Brookfield Craft Center 
Brookfield, Connecticut 
April 11 -June 6, 2004 

Mesa College 

September - October 2004 
Arthur and SWata Jaffe Collection 

Florida Atlantic University 
January 10 - March 25, 2005 

Denver Public Library 

June - July 2005 

Columbia College 

Chicago Center 

for Book and Paper Arts 

Fall 2005 
Call for entries can be downloaded at 

www. artistbooks. com 

Or by sending a self-addressed 6"x9" envelope with .60 

postage to: 

Stand and Deliver 

PO Box 624 

Mt Vernon NY 


Excerpted from the Staten Island Advance August 5,2003. 

Pop-up Books as a Classroom Assignment 

Steve Horvath 
Milwuakee, Wisconsin 

I teach in the Foundations program at Milwaukee 
Institute of Art and Design (MIAD), a 4-year independent, 
professional art and design college in Wisconsin. (Some 
of you who attended the 4 th MBS Conference in 
Milwaukee may have visited the college, which is just a 
short walk from the Eisner Museum where portions of the 
conference convened.) We have a class in the Foundations 
program called Visual Statement. Unlike our other 3- 
credit classes this is a r/ 2 -credit class that is initially 
proposed by an instructor who feels that a particular 
subject idea might be of interest and value to students. My 
peers, and the Foundations Dean, reviewed my proposals. 
One idea I proposed for the spring semester 2003 program 
of study was a class centering on pop-up book design. 

There was some precedent for this idea. Several years 

ago I 

presented a 
pop-up book 
project to my 
class of 
(These were 
students who 
had three 
semesters of 
study behind 
them). I was 
very impressed with the outcome of that project, so much 
so that I proposed the idea as a freshman course of study 
for the spring semester 2003. My only reservation this go- 
a-round was that because the students were freshman that 
the project might prove to be too difficult. 

The class was 1 14-credits for a total of 1 5, 3-hour class 
meetings instead of the usual 30 class meetings found in 
a 3-credit course. 45 total hours of in-class working time 
may seem like a lot but each student had to come up with 
their own idea, write the story, do the illustration, and the 
paper engineering and appropriate mock-ups. Keep in 
mind that my expectation was that each student, by the 
end of the semester, should have a rough working mock- 
up not a comprehensive layout. As I mentioned earlier, 
these were freshman and I wanted to keep a reachable 
outcome to the project. Also keep in mind that it is 
expected that each student must spend time outside of the 
classroom to work on their project, as they would in any 
of their other classes. Usually the same amount of time 
that they spend in the classroom is spent on homework. 
This will vary from student to student depending on how 

Joe Melendez getting the bugs 
out of his "sci-fi" idea 

they process information and what kind of work habits they 

The first meeting of the class was spent orienting 
everyone to pop-up books by first exposing them to many 
examples from my own library. I showed them everything 
from Jan Pierikowski's straightforward and uncomplicated 
books to Robert Sabuda's more complex pieces and 
everything in between. I also showed them Sabuda's video 
"Travels in Time and Space." We discussed how well the 
books communicated and what made them really interesting. 
We then made some simple pop-ups using paper and 
scissors. Thanks to Robert Sabuda and Matthew Reinhart, I 
used their group orientation idea from the last conference in 
Milwaukee. All of the students responded beautifully to this 
exercise and found themselves very relaxed about the 
prospect of tackling a pop-up book. 

I think it's important to mention that I showed them 
examples of pop-up books not only to inspire their creative 
juices but also to give them ideas for their own paper 
engineering approach for their concepts. I felt it was 
important for them to have a more comprehensive guide at 
their disposal so I chose to use David Carter and James 
Diaz's book The Elements of Pop-up as a classroom 
textbook. This served to be a great choice in giving the 
students a jump-start on conceptualizing their ideas in the 
third dimension. I also went to Simon and Schuster's web 
site advertising Carter/Diaz's book and downloaded the 
patterns from all of the examples in the book. These were 
made available to my students to work from for their 
engineering concepts. 

In this class as in any other I teach at MIAD, process is 

paramount to a 
successful project. 
Process of course is 
"how you proceed" on 
a project or, the order 
of doing things. First 
they had to rough out 
a story idea 
accompanied by 
thumbnails or 
"storyboard" of each 
spread as they saw it 
unfolding. This was 
followed by very 
rough illustrations of their story while at the same time 
starting to experiment with their pop-up engineering. Each 
student, as expected, worked at a different pace. I 
recommended that they stay flexible in their thought process 
as a change in one element of the project could illicit change 
in another part of the project. They were able to do this very 
well and as a result were able to make minor modifications 
and adjustments in their work as they progressed through the 

Ryann Paszko working on 

her breaking up with the 

"boyfriend' 1 concept 

I suggested to each student in the beginning of the 
project that they limit their number of spreads to only 
four. None of them did. Six spreads was the minimum and 
some had as many as eight and this takes into 
consideration that about half of the group scaled back their 
number of spreads. As an instructor this made me very 
nervous in the beginning, especially when I saw some 
students not managing their time very well. More than 
anything else I wanted to see them succeed. There were 
group and individual critiques throughout the project. It 
was through this process that those who were not 
managing their time very well realized that they needed to 
re-think their project size. It was also through this critique 
process that each student had the opportunity to "think" 
through his/her idea and get an immediate response to 
his/her concept. A group critique can also be very 
encouraging for those individuals who may have some 
doubt as to the direction of their idea. 

At this 
point, or 

about a 
third of the 
way through 
the project, 
we had an 
to visit a 

book display 
that was 

being installed at the Milwaukee Art Museum. The artist. 
Lois Alert, a long-time friend of mine, shared the exhibit 
of her work with my students. For many years Lois has 
been a children's book writer, designer, illustrator, 
publishing with Harcourt Brace. Although she does not do 
pop-up books, her process and work ethic was important 
for my students to see and understand. 

The story ideas were incredibly varied. I did not 
require the students to limit their ideas to a certain age 
group nor did I ask them to confine their subject matter to 
a certain area of interest. Some chose very personal 
themes such as breaking up with a boyfriend, dealing with 
alcoholism in the family, and suicide. One chose to 
represent an African fable about a turtle that wanted to fly 
like his friend the goose, and another played out different 
kinds of dreams he's had such as falling and finding 
himself naked in public. Another wrote a love story taken 
from Greek mythology about Narcissus who was pun ished 
for repulsing Echo's love by being made to fall in love 
with his own reflection in a pool, and one inventive 
student wrote a fanciful sci-fi futuristic story of life on 
another planet played out in six pop-up spreads. 

A spread from Narcissus and Echo 

My earlier apprehension about the size of each of their 
planned projects was dispelled when presentation day rolled 
around at the end of the semester. They not only tackled the 
amount of work that they laid out for themselves but they 
took their ideas to a higher level of presentation than I 
required. Most of them presented semi-comprehensive 
layouts as apposed to the rough mock-up format that I 
proposed at the beginning of the course. 

I gave them the option early on in the class to present 
their finished ideas as individual spreads. Most of the 
students chose to present their finished work in mocked-up 
book form. They all took a lot of pride and interest in what 
they were doing. After their presentations they hung their 
work in the student gallery for a short two-week exhibition 
that coincided with Gallery Night, (a local event held four 
times a year when galleries in the downtown and near 
downtown area present new exhibitions for viewing), and 
senior graduation. Both events attracted large gatherings of 
people. Outside comments on the pop-up projects were very 
complementary, a credit to the students' involvement. 

The project, in overview, provided a new way for students 
to conceptualize a visual idea. Their ideas seemed to be 
strengthened from the realization of seeing a concept more 
or less come to life in the third dimension. They were also 
able to make connections between the various disciplines 
within the visual arts offered at the college, thus carrying 
some elements of what they learned from the pop-up class 

and applying it 
to another class. 
Intuitive and 
problem solving 
skills were 
required in the 
development of 
their projects. In 
this case the 
student had to 
sort of connect 
the creative dots 
as it were, from 
one stage of the 
project to the next instead of just thinking for the moment. 
The students also developed a stronger personal voice in 
their work, as they were encouraged to develop their imagery 
so that they could reveal their personal and expressive 
personality within a framework of discipline and 
understanding, in this case, developing a book. 

All in all the project was a great success and I have to say 
that my association with the Movable Book Society and the 
information I received in some of the breakout sessions 
during the last conference gave me a great assist in 
implementing some elements of the course material. 

Ryan's full, mocked up spread 
for the African fable 

Biefigheim Exhibition Successful 

Theo Gielen 
The Netherlands 
The exhibition of antiquarian movable, pop-up and 
novelty books from the collection of Mrs. Inge Hase, 
announced by me in the November 2002 issue of Movable 
Stationery as the major event of 2003, has proven to be 
very successful. Mrs. Regina Ille-Kopp, the director of the 
museum Hornmoldhaus in Bietigheim-Bissingen, near 
Stuttgart in Germany, told me that through mid-August 
there had been just over 25,000 visitors. In spite of the 
uncomfortable heat wave that swept the whole of Europe 
in July and August, many people came from far to see this 
unique collection. Mrs. Ille-Kopp wondered how many 
specialist visitors had come from abroad. Both she and 
Mrs. Hase very much enjoyed the friendly - and 
informative - contacts they had with several of them. 

k H i 

ill \ 

fSSN j 

~^ L 




Li u c h 1 i 

Booklet and poster that 

accompanied the 
Bietigheim exhibition 

From my own experience I can say that both the 
collection and its presentation in this remarkable museum 
were unique. My only problem was concentrating on the 
exhibit since I was constantly led away by the museum 
building itself, with its wonderfully painted 16 th century 
walls, ceilings, doors, window openings, etc.! Every room 
looked like another picture book. On the ceiling of one of 
the rooms of the museum there were even some satirical 
topsy-turvies painted about 1575! 

Just before the start of the exhibition Mrs. Hase 
succeeded in purchasing a copy of one of the first real 
movable books, Leopold Chimani's Die beweglichen 
Bilder mil der Beschreibung einiger schonen 
Umgebungen Wiens. Mil 6 Bildern, die sich verdndem 
lassen (The movable pictures with the description of some 
nice surroundings of Vienna. With 6 pictures that can be 
changed), published in 1835(!) by H.F. Muller from 
Vienna, a book that I myself had never seen before. 

Halfway through the exhibition a showcase was added to 
display a small collection of movable Robinsons that Mrs. 
Hase recently acquired - amongst them a German edition of 
the early Robinson Crusoe. Dean 's New Scenic Books. No. 2 
(1865) published in 1 869 by August Schaber from Stuttgart. 
Until her acquisition it was not known that Dean's New 
Scenic Books had ever had been translated into German and 
this copy is the only German one of the four titles from the 
series that has yet popped up. 

The exhibition got a lot of attention from the press. For 
example, a wonderful article on movable books, written by 
Claudia Over and illustrated with over 20 color pictures of 
rare items from the Hase collection was published in the 
May 2003 issue (pp. 52-58) of the major German collectors' 
magazine Trodler & Sammler Journal. A Swiss collectors' 
magazine also had an article. 

The exhibition can be seen until September 7 th when 
there will be a "Finnisage" with Mr. Michael Culo on 
harpsichord and a singer performing music found in rather 
obscure books of songs from the Baroque period (think of the 
well-known Book of Songs by Anna Magdalena Bach). All 
attendees that day will be invited for a champaign after-party 
to celebrate the success of the exhibition. 

Pop-up a Sete 

Theo Gielen 

Although the design and production of pop-up books 
remains primarily an Anglo-Saxon affair, continental 
European collectors have been pampered this the past year 
with a series of exhibitions, each one more exquisite or 
informative than the other: Recklinghausen in September, 
Jacques Desse's Paris sale and exhibit in December, and this 
year's major exhibit of the Hase collection in Bietigheim- 
Bissingen. Since the 20 th of June an exhibition of the 
collection of the Catalan painter and collector Quim 
Corominas of Girona, Spain has been on display in Sete, a 
mundane seaside resort and center of water sports on the 
French Mediterranean. 

The local Musee International des Arts Modestes, 
MIAM, outfitted its complete ground floor as a colorful feast 
of movable books and paper toys from the Corominas 
holdings. Over 200 choice pieces from the collection of over 
3,000 items have been displayed Rare antiquarian ones, 
primarily from Spain and France, accompany modern ones 
from other (Anglo-Saxon) countries, while video 
performances show the movement in the books. The books 
and toys have been grouped partly by theme or by their most 
representative designers. The themes include circus, 
children's stories (Pinocchio, Robinson Crusoe, fairytales, 
etc), comics, and rare erotic productions. The designers 

include: Meggendorfer, Nister, Tuck, Julian Wehr, Jack 
Roberts, Andre Helle, Bruno Munari, Kubasta and Robert 
Sabuda. All mirror the special interests and regard of the 

Special attention 
also has been given 
to the movable and 
dimensional artists' 
books and paper toys 
designed by Mr. 
Corominas himself. 
The last section of 
the exhibition shows 
the so-called 
"Katxinots," little 
paper and cardboard 
sculptures created by 
Mr. Corominas' 
young pupils at the 
Girona Municipal 
Art School. 

Lit J*H?r K Ffi W.rJfH 

Half a dozen 
printed leaflets are available at the exhibition, providing 
the interested visitor with further information on the 
exhibition itself, on Mr. Corominas' collection, his 
painted works and teaching activities, on the history of 
movable books, on Lothar Meggendorfer, on Bruno 
Munari, and a finally one on the publications of Artia and 
their engineering designer Vojtech Kubasta. 

published by Haguenthal from Pont-a-Mousson is included 
as well as the full set of booklet, slip case and costumes of 
Little Henry, the paper doll book published in 1 810 by S. & 
J. Fuller of London. The The Motographe Moving Picture 
Book published by Dutton in New York in 1 898 is there with 
an illustration by Toulouse-Lautrec on the front cover. Two 
other examples are "The conductor" from Meggendorfer' s 
Immer Lustig and Le Vieux Tonneau de Sucre, the French 
edition of the seldom seen Dean title The Tale of an Old 
Sugar Tub: With Surprise Model Pictures. The front covers 
of some six movables have been cut (in shape when 
appropriate) and pasted in a spread that folds out to almost 
twice the size of the basic spread, that has as a centerpiece, 
pictures an antique French game of goose. At one other 
place there has been pasted in (in a forward-folded V in the 
centerfold of a spread) a reprinted paper toy, a game of skill 
as the head of a clown. 

Where the illustrated front spreads have no text except for 
the small printed bibliographical dates of the pictured books, 
the back side of the leporello consists almost exclusively of 
(French) text with some additional illustrations. In a preface 
Mr. Herve Di Rosa, the President of the Association of 
Modest Arts, the association that runs the museum, justifies 
the choice of the exhibition's subject by incorporating the 
species of movable books into the ranks of hitherto 
neglected, the "modest" arts being the speciality of the Sete 
museum. Finally, he thanks Mr. Corominas for "... this 
important presentation of his collection, that simultaneously 
reflects and nourishes his activities of painting, creating 
books and teaching children." 

Accompanying publication 

Of interest, also, for those unable to visit the MIAM in 
Sete, is the beautiful publication the organizing museum 
produced for the exhibition with design and paper 
engineering done by Mr. Corominas. The stylish plain 
covers (25x18 cm.) are done in a brownish-red color and 
hide the richly-illustrated 26-pages of contents printed in 
full color on concertina-folded sheets like a leporello that 
unfolded extends to a full 2.20 meters. 

A bordered theatrical opening has been built into the 
front cover showing the title of the exhibition and some 
shadow theater performance changing scenes are made by 
the pull of a tab. The front side of the bound-in leporello 
shows a representative selection of the antiquarian 
examples with, among others, the six pop-up books from 
the 1 930s based on comic characters and paper engineered 
by Harold B. Lentz, Terry and the Pirates, Buck Rogers, 
Tarzan, Flash Gordon, Dick Tracy and Tim Tyler. Some 
rare Disney publications are included such as the Spanish 
edition of the Mickey Mouse Waddle Book and the paper 
toy Cine Micky, a film -projector with film-strips published 
in the 1930s in France. An early French peepshow 

A second contribution, Corominas the Magician by 
Antoni Puigverd, rates the paintings of the artist Corominas 
and the artists' books created by him which "...illustrate his 
expressive vitalism, a force of color and his dedication 
towards play, surprise and enchantment." The author 
continues by giving Corominas' collecting activities place in 
both his life and his creative, artistic work and concludes, 
"His artistic work is a natural continuation of his obsessions 
as a collector." He also writes some lines on the "Katxinots," 
defining them as "undescribable dolls made of recycled 
cardboard by his infant pupils." Pictures of three of them can 
be found elsewhere in the book. 

Quim Corominas himself contributes by recalling some 
anecdotes of his life-long fascination with toys, paper and 
paper-toys. He began his collection when living in London 
in the mid-1970s. His special fascination is with multi- 
faceted innovators of the species who cultivated different 
disciplines like painting, design, books, toys, puppets, 
objects, teaching, and so on, naming Lothar Meggendorfer. 
Tony Sarg, Bruno Munari, Vojtech Kubasta, Theodore 
Brown and Robert Sabuda. 

A fourth article comes from Veronique Baton, the 

museum's curator and the person responsible for the 
exhibition. It is new and very interesting to read how she 
relates the movable and dimensional books to certain 
developments in the history of modern art, pointing to 
Matisse's cut-up papers, Hans Arp's shredded papers, the 
Cubists' papiers colles and Simon Hantai's phages 
(foldings), through to artists' (and object) books by Bruno 
Munari, Balla's visual games and Albers' exercises at the 
Bauhaus - all displaying formal resolutions close to those 
of the pop-ups. She concludes, "The pop-up has thus 
become a supplementary field of expression and freedom 
for some artists. Adventuring into this terrain, some have 
suggested original paths of reading, playing with the 
format (Andy Warhol), the decor (Francois Boisrond, 
Keith Haring), the third dimension (Katsumi Komagata), 
transparency and tactile stimulation (Bruno Munari), or 
superimpositions of shapes and colors (Dieter Roth, 
Patrick Raynaud)." Pictures of five of Coromin as' colorful 
artists' books, using movable and dimensional elements, 
accompany this article. 

A final full-page picture of Wonder Woman in full 
dress, done on a page flap and with a cut-out oval on the 
place of the head, enables the owner of the book to paste 
in a picture of his head onto the picture of the same 
woman in casual dress - to personalize the book! By the 
way, an English translation of the four articles has also 
been included! 

Mr. Corominas and the M1AM have done a great job 
by producing this highly desirable and collectible book. I 
just regret that they didn't make a real catalog out of it by 
listing the books displayed since not too many 
international lovers of movable books will have the 
opportunity to travel to Sete to see this worthy exhibition. 

As said, the European collectors have been spoiled by 
the great exhibitions that were on display this past year. 
Another one, to be organized by Jacques Desse for the 
Bibliotheque Nicaise in Paris, has been announced for 
early 2004. We just wonder why the country that was 
birthplace of the movable books in the 19th century lags 
behind? When will there be shown a survey of the British 
movable and pop-up books - accompanied by an 
encyclopedic and profusely illustrated catalog? 

Pop-up a Sete! Les Jouets en Papier. Collection Quim 
Corominas. Exhibition in and publication of the MIAM 
in Sete, France. Open from June 20 - November 2, 2003. 
The ISBN is 2-9515966-3-4. The price is 14 euros for the 
book. (8,60 euros for mailing the book to the USA.) 
Credit cards cannot be accepted as payment, only cash or 
bank transfer. For more information contact A limited number of copies 
are available from Ann Montanaro. Contact her for more 
information by email - 

"Four Elements" 

Maria Pisano 
Plainsboro, New Jersey 

Science, art and philosophy intermingle in our quest to 
discern the origin of our world and our inner selves. The 
ancient belief that four elements, earth, water, fire and air, 
made up the world, was a way of beginning to understand 
relationships in many aspects of our lives and our natural 
world. This theme has served as a catalyst for a number of 
my works. In 2002 I created a set of four miniature books on 
this theme called the "Four Elements." These four miniature 
tunnel books, Aer, Terra, Ignis and Aqva, are my 
interpretation of this belief. They were originally created in 
diverse media, such as papermaking and photography and 
the final design was laser printed. The idea of presenting 
them as tunnel books created for me another layer to delve 
within the mystery of the subject matter. They are limited 
edition books, measuring 2 inches high by 3 inches wide by 
Vi inch thick closed. They each come in a customized case 
wrapper, reflecting the individual book design. I designed, 
hand cut and bound the books. If you would like to see more 
images of this book and others from my works, please visit 
the Book Arts web site at 

I remain 
fascinated by 
this theme 
and continue 
to explore its 
potential. As 
a result I have 
begun a new 
series called 
"Animus" and 
presently have 
Aer finished my 

first book 
Canto. Three more are to come, Animus, Vitae and Materia, 
all will be hand printed on an etching press and will be the 
same size and structure as this one, which, hopefully, will 
be finished within the next year. Canto is a tunnel book, 
relief printed on Rives BFK and cased in a wrapper using 
pergamenta paper. It is colophon printed on kozo in 
cyanotype. Is is a limited edition book, designed, printed and 
bound by me in an edition of 1 0. The sizeis 6 inches high by 
8/4 wide by WA inches deep, open. 

I am also beginning the work on an exhibit lam curating 
on the four elements for the Hunterdon Museum in Clinton, 
New Jersey scheduled for 2005. I am doing a great deal of 
research on the theme of how it is viewed and applied in 
diverse cultures and parts of daily lives. 

My Three Favorites 

Adie C. Pena 
Makati, Philippines 

Dum-dum ... dee-dee-dum-dum ... dee-dee-dum-dum ... 

"Your mission, Movable Book Society member, should 
you decide to accept it, is to write about your three (3) 
favorite pop-up books. As always, if you are unable to 
whittle your choices down to three, the editor will 
nevertheless publish your article. This tape will 
self-destruct in five seconds." 

Mission: Impossible? 

Not really. If one has some self-imposed criteria. 

I have only two. First, everything must be made from 
paper. (It isn't called "paper engineering" for nothing, 
right?) Whoops! There go a lot of my favorite books with 
strings, ribbons, elastic bands, acetate, plastic (or metal) 
rivets, dowels, sound chips and other add-ons (e.g. 
wind-up toys, cassettes or CD-ROMs). Sigh! 

Second, the book must be an inspired three-dimensional 
re-invention of an existing format and/or subject matter. 
(Think of pop-up books as movies. You probably wouldn't 
bother watching another predictable romantic flick at the 
cineplex UNLESS it was, for instance, "Moulin Rouge," 
an inspired re-invention of the timeworn boy-meets-girl 
tale. Yep, it's the same old story BUT told differently.) 

Some may find the second criterion too stringent BUT 
that's what separates the best from the rest. A pop-up book 
on an untried subject matter will certainly find a slot in 
my bookshelf— or even in my top 20 list. But another 
nursery tale? Or a counting book? Well, it better have a 
fresh approach, an unexpected twist, a bold and brave 
style to merit my attention. "Originality," a wise man once 
said, "is the ability to make something old look new 

(Of course, I am saying this from a collector's point of 
view. A collector can compare, for instance, a 1990s 
pop-up alphabet book with one from the 1930s. A 
six-year-old child, on the other hand, is only exposed to a 
current pop-up alphabet book. Sadly for us, the publisher's 
priority is the latter and not the former. Whether we like 
it or not, as far as that six-year-old is concerned, the book 
she's holding in her hands is something new. So who 
cares about "inspired inventiveness," right? Hence, 
collectors have to sift through hundreds of "generic" pops 
before truly finding a gem.) 

My three (3) choices are obviously from the so-called 
"Second Golden Age" simply because the pop-up book 

artist of today has a bigger challenge to hurdle. After over a 
century of movable books (not to mention, millions of FLAT 
children's books that have covered every conceivable subject 
matter over and over again), it takes a lot of creativity, a 
huge dose of inspired inventiveness for a three-dimensional 
book to (no pun intended) rise above the clutter. 

And talk about clutter, the pop-up book artist today has 
to contend with other kid-friendly interactive distractions, 
video games just being one of these. Can one compete with 
dazzling visuals, fast-paced editing, electronic sound effects 
and pulsating music? Seriously, nope. But an interactive 
all-paper pop-up book by a movable maestro can make one 
smile and chuckle, gasp and shudder, sigh and swoon, or 
think and ponder. Which brings me back to my first 
criterion. No add-ons, no cassettes, no CD-ROMs. Just pure 
paper. It's serrated edges versus soundchips. Ink on fiber 
versus pixels. Cuts and folds versus CGI. 

With just a few pop-up book artists steadfastly remaining 
true to their craft, we discerningly scoop the cream that rises 
to the top. Here are my top three (3) pop-up books. 

My # 1 pick, a Gustave Verbeck 
meets Henri Matisse meets Shigeo 
Fukuda mini-masterpiece, should 
come as no surprise to Movable 
Stationery readers. I wrote about 
this charming "fairy tale" that 
teaches children the concept of 
"infinity" four issues ago [see MS 
Volume 10 Number 3]. Through 6 
and a half pages, I described in 
great detail why Hot Pursuit: A 
Forward-and-Backward Pop-up Book (1987) by Carla Dijs 
and Kees Moerbeek became my favorite pop-up book. One 
more glowing word from me about this 6 1 /s" by VA" book 
would be superfluous. So enough is enough. 

My # 2 choice is a 
shoo-in. Awarded the 
first Meggendorfer 
Prize at the 2 nd Movable 
Book Society 
Conference in Los 
Angeles (l 998), Robert 
Sabuda's The Christmas 
Alphabet (1994) is a 
wonderful re-invention 

of, well, the Christmas book and the alphabet book. Allow 
me to quote from an unpublished two-year-old "essay" I 
wrote. "Mr. Sabuda in a 1998 article admitted that (the 
people at) Simon & Schuster were 'a bit nervous' when they 
were (shown) this almost all-white pop-up book. After all, 
conventional wisdom then dictated that Christmas was 
supposed to be a very colorful season. Who in his right mind 

would propose a holiday book featuring 26 small 
bleach-white pop-ups?" 

I further wrote: "Aside from re-inventing (the) 
Christmas (book), Mr. Sabuda showed to the entire pop-up 
planet his defiance by refusing to hide behind fancy 
artwork. After all, it was standard practice to 'mask' the 
mechanics. The 'nakedness' of the paper engineering 
caught everyone by surprise. Mr. (Graham) Brown calls it 
a 'celebration,' I call it a high-wire act without a net. Mr. 
Sabuda, known for his elaborate colorful illustrations, 
opted (instead) for a pristine white execution. I wouldn't 
be surprised if he was inspired by Masahiro Chatani's 
pure-white 'Origamic Architecture,' ...a melding of 
concepts -- origami meets pop-ups, East meets West." (I 
could write paragraphs and paragraphs about this 
ground-breaking book but I can already see Robert 
blushing. So I'll stop here.) 

My # 3 favorite, I'm sure, will elicit at lot of 
"Yucks!"from MS readers. Which is precisely the point. 
The fourth installment in a series (1990-1996) of five 
food-shaped "books," David Pelham's The Sensational 
Samburger (1995) is probably an odd choice. But who 
says a book must conclude on the last page? Hot Pursuit 
(and other flat "upside-down" books in the past) certainly 
disproved that. Who says "Christmas" can't be all 
snow-white? Or alphabet books should end with the 
predictable "zebra" Not Robert Sabuda. Now who says a 
book must be a square or a rectangle? Or that it must be 
"wholesome" and "virtuous," especially if it's aimed at 
kids? A three-dimensional re-invention of the shape book, 
Samburger is a deliciously naughty "gross-out" (Hank 
Ketcham meets Raymond Briggs) that definitely 
challenges all those norms. (I can almost hear kids 
rhyming "approach" with "cockroach" and screaming 
"Yuck!" Now how interactive can things get?) 



effect" if it doesn't move the story along, right?) 

Which leads me to "spectaculars." If these were the 
People's Choice Awards, why should an animated short 
compete with a blockbuster like "Titanic"? Maybe we're 
doing this all wrong. Perhaps we should assign categories, 
e.g. adult, space, nature or whatever. (Example: The Tonys 
separate the musicals from the plays; while the Grammys 
have different categories, i.e. Pop, Country, Jazz, etc.) Then 
we could really come up with our personal favorites in each 
category. Just food for thought. 

(I am tempted to list my other seven [7] other choices and 
round it off to a perfect ten BUT I never shirk from a 
challenge. So the above three [3] pop-up books it will be. 
End of story.) 

As Lalo Schifrin's "Mission: Impossible" theme plays in 
the background, I would like to pass the challenge on to Roy 

Dum-dum ... dee-dee-dum-dum ... dee-dee-dum-dum ... 

1 ^A lMi!^ A ' 

|b O Q K 

S O C E T Y| 

Save the Date! 

The Movable Book Society 


San Diego, California 

If one hasn't caught on yet, all three (3) books I chose 
are for kids. After all, 99.9% of all published pop-up 
books are geared towards children. And it's quite tough to 
stand out in a crowded category. Note, too, that my picks 
contain small pop-ups. Well, I was never a sucker for 
Cecil B. DeMille movies. So spare me the spectacle and 
"wow" me with your wit. (What's a fantastic "special 

September 30 - October 2, 2004 


Movable Reviews 

Marilyn Olin 
Livingston, New Jersey 


3=O.K. 4=GOOD 


Rating: 4'A 

Lewis Carroll. Design and illustration: J. Otto Seibold. 
Paper Eng.: James R. Diaz. Publisher: Orchard Books, 
imprint of Scholastic, Inc. Pub.: Late 2003 in USA. ISBN 
0-439-41 184-X. $19.95. 23 x 25.5 cm. 14 pages with 4 
overlaps. 7 large double spread pop-ups, many small pop- 
ups, pull tabs, and flaps. This is a witty and wonderful 
addition to the Alice books. There are seven scenes from 
the original story but the illustrations are new and 
delightful, as are the pop-ups. The text is written in many 
different fonts but there is an additional page which 
children can easily read. Paper Eng. -Pop-ups are 
somewhat complex and very humorous. 

Rating 4 



ISBN 0-859-53649-1 

ISBN 0-859-53648-3 


ISBN 0-859-53845-1 
By Kees Moerbeek. Publisher: Child's Play International, 
Ltd. Pub.: 2001 in the UK. $10.99. 8.5 x 8.5 cm. 10-1 1 
pop-ups are in each box. These books were published a 
while ago but I only heard about them recently. They are 
available on Each book is a small box 
which stays linked as it unrolls, with a delightful, colorful 
pop-up on each turn. The inventiveness of these books is 
sure to excite any child or adult who sees them. Paper 
Eng. -The whole idea and the pop-ups are ingenious. 

Rating: 4'A 


By David Carter. Produced 
by Intervisual Books, Inc. 
Publisher: Piggy Toes 
Press. Pub. 2003 in USA. 
ISBN 1-58117-199-4. 
$14.95. 26 x 20.5 cm. 14 
pages. 7 large double 
spread pop-ups. In this 
bright book David Carter 
outdoes himself. The 

outrageous, large pop-up animals, done with foil, and the 
wild and witty text, all contribute to this surpassing his bug 
books. Children and adults will enjoy and laugh at this 
wonderful book. Paper Eng. - Complex and delightful. 

Rating: 3'A 

READY, SET, GO! By Sue Harris. 111.: Ingela Peterson. 
Paper Eng.: Andy Mansfield. Publisher: Candlewick Press. 
Pub.: 2003 in USA. ISBN 0-7636-2013-0. $12.99. 24 x 24 
cm. 12 pages. 6 large pop-ups. This book tells of a great 
animal race with glittery pop-up vehicles. It has simple and 
warm illustrations and foiled pop-ups. Paper Eng. -Pop-ups 
are simple and one is somewhat complex. 

Rating: 3Vz 

WATER WORLD. By Christian Riese Lassen. Paper Eng.: 
Not given. Production: Leslie Krey & Mary Bjelobrk. 
Publisher: Glenn Johnstone, The Book Company Publishing 
Pty Limited. Pub.: 2002 in Australia. ISBN 1-740-47180-6. 
$15.95. 25 x 30 cm. 12 pages. 6 double spread pop-ups. The 
illustrations in this book are lovely but too similar. More 
variety in the pop-ups of the fish would have also added 
interest. A young child will enjoy the sounds that are part of 
the text, as it is read. Paper Eng. -More than simple but not 

Rating: 4'A 

By Claire Bampton. 111.: Lee Montgomery. Paper Eng.: 
David Hawcock. Publisher: The Five Mile Press Pty Ltd. 
First published in 2002 in Australia, but 
states that it is being published by Egmont Books in Aug. 
2003. Original ISBN is 1 -86503-597-1 . New ISBN 1-40520- 
801-5. Approx.: $16.60 through them. 26 x 30.5 cm. 12 
pages. 6 fabulous, free-standing, pop-up dinosaurs. With a 
clear and explanatory text, excellent illustrations and photos 
from different films this is one of the most enjoyable 
dinosaur books I have seen. Each large, realistic dinosaur 
can be removed from its slot and by pulling one tab become 
a three dimensional model. Each can be collapsed easily and 
returned to the book. Paper Eng. -Very complex and 
extremely well done. 

Rating: 414 

MY LITTLE BLUE ROBOT. By Stephen T. Johnson. 
Paper Eng.: Stephen T. Johnson. Publisher: Silver Whistle, 
imprint of Harcourt, Inc. Pub.: 2002 in USA. $21.95. 20 x 
28 cm. 12 pages. This book kit has thick cardboard pages 
from which flat components easily pop out to build a robot 
on wheels, which speaks and has a heart! All the pieces can 
be slotted together without any glue. A working screwdriver 
and key are supplied. This is a sturdy, easily put together toy 
and is extremely well done. Children will love it. Definitely 
a book that makes something movable, it is not a pop-up but 
a pop-out! Paper Eng. -A wonderfully interactive book. 


The Story Behind the Story 

Eugene Trivizas 

Professor of Comparative Criminology 

University of Reading, U.K. 

The Three Little Wolves and the Big Bad Pig by Eugene 
Trivizas was originally published by Heinemann Young 
Books in 1993. An anniversary pop-up version of this 
book is being issued this fall by Egmont Books. The 
following commentary by the author is reprinted from (July 31, 2003) with permission and 
corrections from the author. 

Pigs and Wolves - 
Exclusion, Escalation, and Stereotyping 

My book The Three Little Wolves and the Big Bad Pig 
is not just an irreverent play with a traditional theme. The 
story offers an alternative way of looking at certain 
important issues. Indeed it was my experience as a 
criminologist and criminal law specialist that prompted 
me to write the story. In the traditional story the wolf 
demolishes two houses made of straw and wood. Only 
when the little pigs build a third house made of brick, they 
are really safe. The big bad wolf is unable to blow it down 
and his desperate attempt to violate their sanctuary by 

entering through the 
chimney ends in his horrific 
death in a kettle of boiling 
water. What does this story 
tell us? What messages does 
it transmit to the 
contemporary reader? The 
first message conveyed by 
the original story is that if 
you want be secure you 
should retreat to and be 
surrounded by progressively 
stronger and stronger 
structures. The recommended policy is exclusion, 
isolation, distrust and prevention of communication. The 
problem with this attitude is that exclusion often leads to 
escalation. This has clear parallels not only in the arms 
race debate, but also in the area of criminal justice. Each 
and every method of protection leads to corresponding 
ways of circumventing and neutralizing it. Weapons are 
getting progressively more lethal and violence more 
dangerous. Exclusion is detrimental also for the potential 
victims. We have reached the point instead of imprisoning 
or imposing house arrest to the criminal, we do it for the 
victim. As Linda Phillips Ashour points out in the New 
York Times, in her review of the TLW - this is a reminder 
"on how many of us live today with fear and 37 padlocks." 

\ i . | 

Lefebvre, continued from page 2 

Since I have also seen copies of Little Red Riding Hood 
numbered 721/3 with a copyright date of 1960, The Sleeping 
Beauty numbered 724/4 without any (copyright) date, and 
Cinderella with a ©1963, all with the Lefebvre imprint, it 
seems most likely that he ordered at least one more time 
from Artia. Mr. Lefebvre does not remember it - and since 
the archives of his company have been destroyed, it is 
impossible to check. 

It has to be said that Lefebvre didn't have the exclusive 
rights to distribute the Kubasta books in Belgium. In the 
same year, 1960, the Antwerp publisher Diogenes also 
bought some parts of the Fairy series and in 1961-62 some 
parts of the Tip+Top series. The first four parts from the 
"number" series (the only parts out of the 12 that were 
translated into Dutch) came in their small sizes in 1964 from 
Erasme, based in Brussels and Antwerp. 

LEHO (1962-1964) 

Mr. Lefebvre's deal with Artia and their Kubasta pop-ups 
was effectively limited to the passing of the books to the 
wholesaler Kerkhof-Grijspeerdt and to cash. He himself, 
meanwhile, had been busy getting lots of coloring books 
printed featuring the Disney characters. But he had acquired 
a taste for pop-up books since it was such an easy and 
successful way to sell large numbers of books. A 
combination of Disney characters and pop-ups came to his 
mind. Meeting with the European Disney director Mr. Bigle 
at the 1961 Frankfurt Book Fair he discussed his plans to 
publish such "panoramic books" to coincide with the annual 
run of Disney movies during winter holidays. Mr. Bigle 
agreed, but was not keen on a production at Artia. Their 
terms of payment were rather unprofitable and, more 
important, there wasn't any possibility of controlling what 
happened in the socialist countries when the Disney films 
were sent there for printing. The permission would only be 
given - Disney license contracts were very rigid - when the 
complete production was done by Lefebvre in his own house. 

Again Lefebvre didn't have the money to do it alone, he 
needed a financially strong partner. A casual acquaintance 
with a local young printer, and hobby filmmaker, like 
Lefebvre. opened perspectives. Pierre Hoorens had just 
started a printing office in Proostdijstraat, Kortrijk, in 
association with his brother. Knowing of Lefebvre's export 
activities to South America and himself looking for 
expansion of his printing business, he offered cooperation. 
Hooren's father-in-law. a local textile magnate, was willing 
to finance the needed expansion of the printing offices and 
to invest in the project. So on the 21st of April 1962 a new 
company was founded for the production of Disney 
panoramic books: LEHO, based in Kortrijk. 3 

Continued on page 19 


The illustrations of the characters in the books had to 
strictly follow the Disney designs; the backgrounds were 
filled in an un-Disney, rather crude and rudimentary way, 
mostly showing just the wipes of colors. For the 
dimensional effects the simple technique of cutting and 
counter folding was used. Remarkable, however, was the 
diagonal setting of several scenes on the pages. To enable 
easy folding, the folding lines were perforated; the result 
of this, unfortunately, is that the folds were easily torn. To 
find an intact copy of these books nowadays is, therefore, 
rather difficult. 

Although not credited for it, the texts of the books were 
written by a local journalist, Hugo Brutin, now a widely- 
respected Belgium art critic. Both the illustrations and the 
paper engineering were done by "somebody from Ypres or 
Poperinge" (little towns in the neighborhood) whose name 
Mr. Lefebvre doesn't remember. In a later interview he 
remembered the man to have been a high school drawing 
master freelancing for jobs like this. The whole production 
was supervised by S.C.R.E.P.T.A., the Brussels 
merchandise licenses office that then controlled the 
Disney rights in the Benelux (and Switzerland). Once they 
had agreed to the designs and the dummies, Lefebvre 
could start the production of the books. The printing was 
done by Hoorens who meanwhile had also the facilities to 
cut and perforate the spreads. The transformation of the 
printed, cut and perforated sheets into real pop-up books 
was effected by the publisher himself and some fellow 
workers, amongst them the publisher's wife and children. 
Like the Artia products, the sheets were concertina-folded 
and glued in the covers. Finally the books were spiral 
bound, like many pop-up books of the fifties and sixties 

The results of this labor-intensive work were four 
different titles, published in 1962 as "0«ze 
panoramaboeken" (Our panorama-books) and known 
since as the "yellow series" since the covers were executed 
mainly in that color: Bambi, The 101 Dalmatians, Saludos 
Amigos and Snow White and the Seven Dwarfs. The books 
open sideways, measure 2 1 x27 cm, are numbered 701-704 
(copying the 700 numbers of the earlier Kubasta's) and 
show on the back cover the new publisher's vignette: 



No moving parts were built into the dimensional scenes of 
the eight, unpaginated double spreads. The back covers 
however have a Mickey figure that turns on an old- 
fashioned TV showing the pictured front covers of the 

other three parts of the series by means of a sliding strip 
to be pulled by the child. 

According to Mr. Lefebvre the books were published in 
both Dutch and French, to serve a larger market and also to 
cover the high costs of the production (design, photogravure, 
color printing, cutting, folding, glueing, etc). Remember that 
Belgium is bilingual: Dutch is the language of Flanders, 
French the language of Wallony. There was also easy access 
to the French market since Kortrijk is situated at the border 
of France. 

About the time Lefebvre published his Disney titles, 
however, strong competition began in the field of pop-up 
productions in Belgium First, the fairy pop-ups from 
Hemma, based in Chevron (Wallony), came on the market, 
simpler but cheaper! LEHO had to compete and did so in a 
way that makes the identification of later editions of the 
yellow series rather complicated. To reduce the costs of 
production and to make a competitive pricing possible, the 
publisher split the eight-spread books into two books of four 
spreads each. The first four spreads were in the one book, 
the second four in a second book. He exchanged the spiral 
binding for a simple paper spine (but not always); and 
dropped the sliding strip in the back cover (again not 
always). Wilder still grew his editorial behavior when he 
changed titles of books that had the same content: Saludos 
Amigos came out also as Donald Duck en Jose Carioca 
(Donald Duck and Jose Carioca) and as Donald bij de Inca's 
(Donald with the Inca's); The 101 Dalmatians grew into 
Pono & Perdita.... Cover designs differed with the same 
contents, books with bilingual titles appear to have a single 
language contents, (slightly) different cuttings of the spreads 
can be spotted, and the numbering sometimes gets a 
mysterious extra 'A' in '701 A' or '703 A' (for "Altered"? 
But in that case it wasn't done consistently). Confusingly, all 
editions have a same "© Copyright 1962 Walt Disney 
Productions " and the same imprint "Uitgegeven doorN. V. 
LEHO - Kortrijk met toelating van N.V. S.C.R.E.P.T.A." 


(Published by N.V. LEHO - Kortrijk with the permission 
of N.V. S.C.R.E.P.T.A.). 

The result is a hodgepodge of (undated) editions 
which all originate from the original four titles and had to 
have been published between 1962 and 1964 when the 
LEHO company closed down. The relationship between 
the partners had deteriorated as Mr. Hoorens found other 
(printing) projects to be more lucrative. In all Lefevbre 
thinks some 50,000 copies of the yellow series were 


I have tried to list the various editions of the four titles as 
seen by examination." 

Abbreviations: sb - spiral bound; ps - paper spine; si - 
sliding lid in back cover; ws = without sliding lid: 

1.1 Bambi 

sb - si 

8 pop-ups. Known both in 
Dutch and French Nr: 
Cuttings are different 


1.2 Bambi 

ps - si 

4 pop-ups 


1.3 Bambi 

sb - ws 

4 pop-ups, different cover 

710 A 

1.4 Bambi 

ps - si 

4 pop-ups, different cover, 
different pop-ups 


1.5 Bambi 

ps - si 

4 pop-ups - French 

1.6 De geboorte van Bambi 

4 pop-ups - French 

701 • 

1.7 La naissance de Bambi 

ps - ws 

4 pop-ups - French 

701 (?) 

1.1 The 101 Dalmatians. De nacht der kouwe neuzen 

sb - si 

8 pop-ups 


1.2 The 101 Dalmatians. De nacht der kouwe neuzen 

ps - si 

4 pop-ups 


2.3 Pongo & Perdita 

sb - ws 

4 pop-ups 


2.4 101 Dalmatiens 

sb - si 

8 pop-ups 


2.5 101 Dalmatiens 

ps - ws 

4 pop-ups - French 


3.1 Saludos Amigos 

sb - si 

8 pop-ups 


3.2 Saludos Amigos 

ps - si 

4 pop-ups 


3.3 Donald Duck en Jose Carioca 

sb - si 

4 pop-ups 


3.4 Donald Duck en Jose Carioca 

ps - ws 

4 pop-ups 

703 A 

3.5 Donald bij de Inca's 

sb - ws 

4 pop-ups 

703 A 

3.6 Donald bij de Inca's 

ps - ws 

4 pop-ups 

703 A 

3.1 Sneeuwwitje en de zeven dwergen 

sb - si 

8 pop-ups 


3.2 Sneeuwwitje en de zeven dwergen 

sb - ws 

4 pop-ups 


3.3 Blanche Neige et les sept Nains/Sneeuwwitje en 
de zeven dwergen 

ps - ws 

4 pop-ups, in Dutch despite 
bilingual title 


YS (1965-1977) 

Again without a business partner, but willing to 
continue his pop-up activities, Mr. Levebre looked for 

another partner. Apparently he was a good networker for 
in short period of time he found a new partner: Mr. Lucien 
Fenaux, a director of the local dye works of yarn and 
fabric - and also a hobby filmmaker! Their intention, to 


aim at the French market, was reflected in the name of the 
new company: Lys, the French word for the river 'Leie' on 
which the borders Kortrijk are situated. 

It is rather remarkable that the first pop-up publication 5 
of the new publishing house proved to be a very Flemish 
one...! Undated, but appearing in about 1965, were four 
small (13x17 cm.) booklets under the series name 
"Panorama Boeken Lys-Stereo." Sideways opening, each 
book has three double spreads with (very) simple cuts and 
counter-folded scenes that illustrate some fables of La 
Fontaine as shortened by Geert van Allemeersch who this 
time was responsible for the texts. The titles in the series 
are De Kikker en de Koe (The Frog and the Cow), De 
Haas en de Schildpad (The Hare and the Tortoise), De 
Raafen de Vos (The Raven and the Fox) and Mieke en de 
Melkkruik (Mieke and the Milkjug). The illustrations are 
by the internationally-known Belgian artist Jose 
Vermeersch (1922 -1997), a friend of the new partner 
Lucien Fenaux. The four booklets came also in a French 
edition, to be sold in Wallony, Luxemburg, France and the 
French speaking part of Switzerland. 


OE KfKKCC Frj n& M1--I 

c-: EA.'.F El. C£ 

Panorama Boeken Lys-Stereo 

Though the booklets have a rather modest appearance 
and very simple paper artwork, their all-Flemish origins 
(author, illustrator, publisher and printer - Beyaert from 
Kortrijk) make them a rarity. They will probably prove to 
be the only original Flemish pop-ups ever made. The 
contribution of the well-known artist Jose Vermeersch - in 
later years mainly active and known as a sculptor - surely 
makes the booklets now more valuable and sought after. 

Lefebvre and his partner however thought of more 
prestigious pop-up books to be published by Lys and 
suggested another series of Disney pop-ups. Bound by the 
strict license contracts of the Disney company, he 
discussed his plans during the 1969 Disney convention at 
the Hilton Hotel in Brussels. He finally succeeded in 
getting their permission to have these pop-up books 
produced by Artia in Prague. The Disney officials again 
proved not too keen to cooperate with the company since 

it was based in a socialist country and they especially 
feared loosing control of their patented materials. Besides, 
the Disney people were dissatisfied with the Artia quality: 
poor quality cardboard that quickly yellowed, not always 
an exact overlap of the colors of the offset printing, etc. 
So, Artia was pressed by contract to guarantee a better 
quality, better paper and cardboard, the use of more 
accurate printing machines, a binding in glazed board 
covers, etc. Several times in those years Mr. Lefebvre 
visited the Artia premisses at their Ve Smeckach adress in 
the Nove Meste district, near the Wenceslas square in 
central Prague to discuss the claims with Mrs. Kucova 
(famous for speaking six languages fluently) and to 
supervise the production of the ordered books. When 
asked about it, he stated that he never met Mr. Kubasta 
over there. 

Since it has been suggested in recent years that 
Kubasta was involved in the design of the Disney spin- 
offs, I thoroughly interviewed Mr. Lefebvre as a person 
involved in the genesis of these books. Unfortunately he 
cannot remember all the details of how the series came 
into existence, but he is very sure that he himself was the 
"packager" of two of the five Disney titles: De Aristo- 
Katten. Een Walt Disney Produktie. Pop-up Boek van 
Uitgeverij Lys (The Aristocats. A Walt Disney Production. 
Pop-up book by Lys Publishers) published in 1971 but 
undated, and Walt Disney stelt voor: 101 Dalmaliners. 
Pop-up Boek van Uitgeverij Lys (Walt Disney presents: 
101 Dalmatians. Pop-up book by Lys Publishers) 
published in 1972. The texts for both books were written 
by Hugo Brutin - who did the texts of the yellow series 
although he was only given credit for 101 Dalmatiners. 
The complete production of the books (design, illustration, 
printing, binding and the finishing) was done in-house at 
Artia. Who did the concrete work over there and whether 
or not Mr. Kubasta was involved, he doesn't know 
anymore. He remembers having received, before 
production, the roughs and the blank dummies to be 
sanctioned by the European Disney officials. For both 
books Mr. Lefebvre also arranged co-editions for Auguiri 
Mondadori from Verona in Italy (20,000 copies), 
Pestalozzi Verlag from Fiirth in Germany (10,000 copies) 
and a Danish publisher (5,000 copies); the French 
versions of Lys (later on distributed in France by Age 
d'Or) had 15,000 copies and their Dutch version another 
5,000 copies each. The copies went directly from Artia to 
the various foreign publishers who paid a fee to Mr. 
Lefebvre for his packaging work. Remarkable, and also 
proof of the reliability of Mr. Lefebvre's memory in this 
question, is the fact that Lys had the exclusive rights to 
sell just these two books in the Netherlands where the 
other three Artia Disney's got their editions at Dutch 
publishers, leaving only the rights for Belgium (and 
France) to Lys. Those other three, published by Lys both 
in a Dutch and a French version, were: Walt Disnev's 


Bambi, published in 1970 with the (Artia-)number 703, 
Walt Disney's Jungleboek, published 1970 without a 
number, and Walt Disney's Mickey Mouse als films ter 
(Mickey Mouse Film Director), published in 1971 again 
unnumbered. 6 

Age d'Or. (1973-1976) 

To get rid of the considerable number of copies of the 
French editions of the Disney spin-offs, he joined hands 
with the Societe Francaise du Livre, a wholesaler that sold 
large quantities of books (overstock, remainders, etc.) to 
supermarkets and retailing chains in central France. 
Through a trade commissioner of the Belgian consulate in 
Lyon he contacted some other wholesalers to cover the 
south and north of France. But when the list of ordering 
bookshops and other outlets grew quickly, the built up 
distribution network proved not too transparent, and - 
above all - the export from Belgium to France proved 
rather complicated, he decided he had to go and live in 
France himself to do there his own business. Leaving the 
Lys company, as far as their Dutch edition concerns, in 
Kortrijk to his partner Fenaux and his son Freddy, his 
family settled in Versailles. To share the risks and to have 
inside information ofthe customer's practice in France, he 
searched for a partner there. Through the people ofthe 
Societe Francaise du Livre he met a Mr. Rouiller, a Paris 
businessman with offices in the Rue de l'Universite. With 
his collaboration a new publishing house was founded in 
1973: Age d'Or, based at Mr. Rouiller's address in the 
center of Paris. 

The company made an energetic start by bringing out in 
their first year (1973) the French editions of four parts of 
Kubasta's "white series": Lajoyeuse maison (Nr.471), Le 
petit train (Nr. 472), Le petit avion (Nr. 473) and La 
petite auto (nr.474) and of four parts ofthe Pavlin and 
Seda series also originating from Artia: Les Aventures de 
Pinocchio, Crin Noir, Robin des Bois and Alice au Pays 
des Merveilles, all published with the joined imprint of 
"Editions LYS / Age d'Or." 

In that same year the company acquired a license from 
the well-known comic publishing house of Dargaud in 
Paris, to do a pop-up edition of their best-selling Lucky 
Luke, a quality comic about a lonesome but accurately 
shooting cowboy, created by "Morris" with texts by 
Goscinny. This time Mr. Lefebvre and his workers did the 
design, the illustrations and the paper engineering for the 
book themselves (though with an eye on some techniques 
known from Kubasta!). He visited Morris (the name used 
by artist Mr. Maurice Debevere, he himself also born in 
Kortrijk) at his studio in Brussles with the roughs and the 
blank dummy and got his production approval. The book 
was printed and assembled by Artia and came as "Ire 
edition octobre 1973" on the market as Lucky Luke & 

Western Circus, the Dutch edition with the imprint of 
LYS publishers, Kortrijk, the French edition with this of 
Editions Age d'Or, Paris (and a small remark that the 
distribution in the French speaking part of Belgium was 
done by Editions LYS). It is a desirable book with lots of 
cut-outs and elaborately moving parts, and, since it is the 
only pop-up of Lucky Luke, it is heavily sought-after by 
comic collectors as well. The book was a success and has 
been reprinted. All copies of this title came from Artia to 
Antwerp and were from there distributed by Lefebvre to 
Age d'Or in Paris and to the three foreign co-publishers: 
Pestalozzi in Germany, Mondadori in Italy and an 
unknown Danish publisher. 

Lucky Luke and the Western Circus 


After the commercial success of Lucky Luke, the 
publisher planed to bring out a three-dimensional edition 
of that other quality comic, Europe's most famous one, 
Asterix, designed by A.Uderzo with text by the same R. 
Goscinny. However, he no longer wanted to produce at 
Artia since the previous year's deliveries were delayed so 
much that some of them only arrived in December, too late 
for the holiday season. In addition, Artia had started to 
deliver Andersen's pop-up fairy tales as designed by 
Kubasta to their French competitor Grund. A befriended 
German publisher contacted Mr. Lefebvre at the Bologna 
Children's Bookfair and told him of the then young 
company of Carvajal from Cali in Colombia. He quickly 
came to terms with Carvajal's Special Products Export 
Manager, in those days the still young Mr. Guillermo 
Holgin who did the job until the company closed down a 
couple of years ago! Mr. and Mrs. Lefebvre were invited 
to take the films, the dummies, and the "caique" for the 
cuttings ofthe Asterix pop-up book to the Cali premisses. 
They did so and were in Colombia for a week as the 
special guests of Carvajal, guided by Mr. Holguin. 
Lefebvre, an enthusiastic hobby filmmaker himself, still 
treasures the moving pictures he took from the pop-up 


production process over there with his 16 mm. "Paillard." 
He also remembers how the people of Carvajal proudly 
told him about an Antwerp master printer who came to 
work at Carvajal before World War II and taught their 
printers how to use the most modern off-set printing 

In conclusion, we have seen that Mr. Lefebvre's pop- 
up activities were concentrated in the early 1960s and ten 
years later, in the first half of the 1970s. As a publisher he 
was the creator of a variety of original pop-up books, 
which he initiated and produced. The following is a listing 
of his production: 

Again the design, illustrations and paper engineering 
were done in-house, closely following the original designs 
of the Uderzo comics. The over-all design of this book was 
simpler, the engineering effects less elaborate than those 
of the Lucky Luke book and the paper lighter weight (to 
lower the costs?). In September 1974 (stated first edition, 
mentioned on the back) came De Reizen van Asterix. Een 
pop-up boek van Uitgeverij LYS B-8640 (The travels of 
Asterix. A Pop-up book by LYS Publishers). The strange 
"B 8640" appears to be the postal code of the Belgian 
village Moorsele-Gullegem where LYS had their 
warehouse and was printed by mistake! The French 
edition was published with the Age d'Or imprint, an 
Italian edition came from Mondadori, Verona, and a 
German one from Pestalozzi, meanwhile moved to 

the many variants of the "yellow series" with the 


the four pop-up fable booklets designed by Jose 

Vermeersch with the LYS-imprint; 

the Artia Disney spin-offs De Aristo-Katten and 101 

Dalmatiners published by LYS and Age d'Or; 

the original Lucky Luke, also by LYS and Age d'Or; 

finally the nice Asterix, again by LYS and Age d'Or. 

For Flanders the pop-up activities of Mr. Lefebvre 
proved to be unique: neither before him nor after him has 
anyone else created original pop-up books. Just in Wallony 
there started in his time a company publishing simple but 
popular dimensional books (in imitation of the successes 
of Lefebvre?): HEMMA from Chevron, the biggest 
competitor of Levebvres business, and still active at this 
very moment. 

ihc mm \\\ 

iM - I K 

Sr"i ; "- - - v 

De Reizen van Asterix 

The End 

The cooperation with Carvajal was confined to one 
pop-up book; Lefebvre didn't publish anymore pop-ups. 
He had seen his son Freddy continue the business but in 
the mid-1970s Freddy and his family left for Germany 
where he started a career as a cameraman and movie 
maker with the German Television. Since the loss of 
Freddy endangered the continuity of the company, the 
business partner Lucien Fenaux backed out. As a 
consequence Mr. Lefebvre closed down Lys in February 
1977. After Asterix he confined himself to what has been 
his core business for many years: the lucrative trade in 
calendars and postcards, with and without Disney 
characters. He finally retired in 1985. 

(Edited and translated from the Dutch by Theo Gielen). 


' The interviews took place on May 20 and June 3, 2002. In a 
letter of October II, 2002 Mr. Lefebvre commented my first 
version, and finally I had a third interview, together with Theo 
Gielen, on May 9, 2003. Mr. Gielen wrote the definitive version 
of this contribution and translated the text in English, for which 

1 would like to thank him. 

2 Unfortunately Mr. Lefebvre doesn't remember the name of the 
man so trying to trace the way the Kubasta's were distributed in 
Western Europe has failed for the time being. 

3 Although a copy of Hansel and Gretel has not yet been seen, 
the title was part of the series, the book number has been 

4 The name is a contraction of the first two letters of both names. 
Lefebvre and Hoorens. 

- Any addition or information about variant editions in the 
collections of the readers will be very welcome. 

6 Since this article just describes the pop-ups by Lys, the further 
Lys publications have been omitted. Lys published a lot of 
Disney reference books as well, on animals, spacecraft, etc. 

7 See for the French Lys editions, for example, the Jacques 
Desse exhibition catalog 2002, nrs 279-287. 


Questions and Answers 


(isfic Surorise Patioranvs 

^^3;V];]^V f 

Q. Researching the 
movable and pop-up books 
published by the Raphael 
Tuck Company, I am 
confronted with the 
enigma of their series of 
"Tuck's Annual with 
Realistic Surprise 
Panoramas" published in 
the 1920s or 1930s. Until 
now I have seen two 
volumes. The one with the 
two children in old- 
fashioned clothes sitting in 
a carriage (see picture) has two pop-up pictures, double 
spreads that rise to form a layered tableaux as the pages 
are opened. They are entitled "The Tower Bridge" and 
"Glorious Days of Sport." 
The first item of the book 
is "The Spirit of Progress." 

The other one has on its 
front cover two children in 
old-fashioned clothes 
under an umbrella, the boy 
playing a guitar. Similarly 
it has three pop-ups, 
entitled "The Joy of 
Motoring," "Changing 
Guard Whitehall" and "All 
the Fun of the Fair." Here 
the first item is "The 
Wonderful World." 

There is also known a similar volume: Father Tuck's 
Annual for Little People with "Come to Life" Pictures 
(see picture of front cover) showing two pop-ups of an 

identical technique as in 
the "Tuck's Annuals" 
above; now entitled "Fine 
Fun on the Sands" and 
"The Animals went in 
Two by Two." Here the 
first item is "Something 
very special." 

Does anyone have 
other volumes of "Tuck's 
Annuals" in his/her 
collection? And who has 
other volumes of Father 





• -- 
wiih'eoai re unTptanits 



Father. Tuck's- 

Tuck 's Annual for Little People? Does anyone know more 
about how to date these annuals? Please help me with your 
information, I will be grateful for any assistance. 

Theo Gielen. 

A. I have a Father Tuck's 
Annual For Little People with 
"Come to Live" Pictures in 
my collection. It has two pop- 
ups entitled "At School in 
Catland" and "Life at the 
Farm." All the pages are 
heavy, stiff paper. It is 
inscribed but not dated. 

Ann Montanaro 
East Brunswick, NJ 





Q. The following book is 
listed on I 
ordered it when it was first listed but Amazon cancelled 
my order early this year. Does anyone know if this book 
was ever published? Harry Potter: the Flying Car: Pop-up 
Book. By J.K. Rowling. November, 2002. BBC Consumer 
Publishing. £12.99. 0-563-53262-9. 

Ann Montanaro 

Children's Book Magic. 

David Diaz & Robert Sabuda 

November 15, 2003 - February 1, 2004 

Leigh Yawkey Woodson Art Museum 

Wausau, Wisconsin 

Robert Sabuda will be the honored guest 

at the opening reception on 

Friday, November 14, 5:30 - 7:30 p.m. 

Movable Book Society members 
are invited to attend the reception. 

For more information about this exhibit 


The story behind the story, continued from page 12 

Moreover by excluding, stigmatizing and isolating we may 
reinforce or even create whatever danger we are afraid of. 
Isolation and segregation make illegal activities even more 
attractive for the offender. In my version of the story an 
alternative message is conveyed. The three little wolves erect 
first a solid brick house. The big bad pig comes along and 
when huffing and puffing fails to work, he uses a 
sledgehammer to bring the house down. Next the wolves 
build a home of concrete: the pig demolishes it with his 
pneumatic drill. The three little wolves choose an even 
stronger design next time round: they erect a house, made of 
steel, barbed wire armor plates and video entry system, but 
the pig blows it up with dynamite. It is only when the wolves 
construct a rather fragile house made of flowers, that the pig 
pauses to smell the lovely scent, has a change of heart, 
realizes how horrible he has been, undergoes a radical 
transformation, and he becomes a big good pig. The wolves 
invite the pig inside the house and the story ends with a 
party with strawberries and wolfberies (the summary is 
composed of review extracts). Instead of confrontation, 
exclusion and destruction - this version of the story 
advocates communication, reintegration, inclusion and 
restoration of trust. The message is not only that beauty 
facilitates change, and sometimes tenderness may work 
better than toughness, but that by being open we may be able 
to win over our adversary. There is no denying that this way 
of responding to adversaries in certain circumstances is 
appropriate, in others inappropriate and certainly it has its 
risks and dangers, but so does the attitude recommended in 
the original story. The second message conveyed by the 
original tale is that there are clearly differentiated good and 
evil characters. In my reworking of the story, instead of the 
three little pigs and a big bad wolf, we have three cuddly 
little wolves and a nasty big bad pig. That is not only a 
deliberate reversal of the bad press given to wolves but a 
reversal of good and evil characters in general. Wolves are 
not necessarily the embodiment of evil, nor always 
something to be loathed. Indeed it may be easier to make 
friends with a wolf than a pig. An educator Joyce 
Wakenshaw wrote to me from Switzerland, raising among 
others, the point that this role reversal is confusing. For 
generations the wolf has been used in children's stories to 
depict evil, something to be feared and what is wrong with 
that? If the child listens to the story in a safe environment he 
- she can come to terms with fear. Why not let the wolf 
represent all that is bad? Because I wanted to move away 
from good and evil characters to a distinction between good 
and evil acts. My story is indeed an attempt to overcome the 
stereotyping of good and bad. "It is important," as B. 
Thomson points out to teach "children to consider acts 
rather than stereotypes." There are good and bad deeds not 
good and bad persons. Not all pigs are bad and not all 
wolves are good. There is good and bad in everyone. 
Stereotyping character rather than acts is sometimes 

dangerous because it excuses corruption, promotes persecution 
of minorities and carries the risk of the so called "self-fulfilling 
prophesy." One of the difficulties of the present way of looking 
a things is that it establishes a false dichotomy not between 
good and evil but people who defined as good or bad. Children, 
B. Thomson remarks, have often far more to fear in their 
domestic setting than from outsiders. "Many children have had 
to suffer abuse 'in silence' because they were unable to 
convince anyone that their good parents or other persons in 
positions of trust were abusing them - precisely because 
everyone believed in the good character stereotype." If we treat 
people as representatives of stereotypes rather than as 
individuals, a religious commentator remarked "we are 
responding less to what the other person did and more to the 
image of the other person that is called upon by the name we 
have give him. This dichotomy further deepens the gulf 
between offender and society and makes it even more difficult 
to achieve the aim of bringing him back to the community." A 
child told me the other day "Everybody knows why wolves are 
bad. Because they is eating pigs." "So do humans," I answered. 
Are we also all bad? 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or advertising. All 
titles include pop-ups unless otherwise identified. 

Alice In Pop-up Wonderland. By J. Otto Seibold. Orchard 
Books. 0-439-41 184-X. $19.95. 

Alice's Adventures in 
Wonderland. Robert Sabuda 
(Illustrator and paper 
engineer). October, 2003. 
Little Simon. $24.95. 

The Ancient Egypt Pop-up 
Book. October, 2003. 
Universe Publishing. 
$29.95. 0-7893-0985-8 

Blue's Treasury of Stories. 
October, 2003. Little Simon. 

Book of Roman Pop Up 

Board Games. 

October, 2003 . 1 2 pages. U.K. 

Tango. £12.99 




Brum's Super Powered Pop-up Book. By Alan Dapre. 
October. 14 pages. UK. Hodder Children's Books. £9.99. 

The Christmas Crib - a Nativity 
Pop-up and Story. By Brian 
Wildsmith. September. 4 pages. 
Oxford University Press. £ 1 2.99. 

The Country Music Pop-up 
Book. By the Staff of the 
Country Music Hall of Fame 
and Museum. October, 2003. 
Universe Publishing. $45.00. 0-7893-0980-7. 

The Greatest Story Ever Told: A Pop-up Activity Book, by 
Linda Parry, Alan Parry. Loyola Press. 0-829-41 70 1-X. 
Also: John Hunt Publishing (UK). £9.99. 1-842-98108-0. 

Ice Mountain. November, 
2003. 14 pages. Little Simon. 
$7.99. 0-689-85981-3. 

In a Spin: A Busy Bugz 
Pop-up Book. By Christine 
Tagg. Silver Dolphin Books. 
$12.95. 1-59223-084-9. 

Jade Moves House: A 
Touch-and-feel Pop-up Book. 18 pages. U.K. Tango Books. 
£9.99. 1-857-07567-6. 

Look for a Leprechaun (Bright & Colorful Pop-Up Books!). 
Book Company Publishing. 1-740-47313-2. 

Magical Beasts: A Pop-up Adventure. By Nick Denchfield. 
October. 12 pages. UK Macmillan Children's Books. 
£14.99. 0-333-99857-X. 

The Magical Pop-up World of Winnie-the-Pooh. October, 
2003. $24.99. 0-5254-7141-3. 

Monkey Business: A Jungle 
Pop-up. By Paul Stickland. 
October 2003. Ragged Bears 
USA. $17.95. 1-929927-49-5. 

New York on the Fly: An 
A bsolutely Buggy Pop-up Book. 
By Tanya Roitman and Donna 
Williams. Pop Up Creations 
Travel Series. 9" x 12". $17.95. 

Oh, the Places You'll Pop-up! By Dr. Seuss. Random House 
Children's Books. $6.99. 0-375-82310-7. 

Pop-up Kama Sutra. "With 6 
pop-up variations." October, 
2003. Stewart, Tabori & 
Chang. $22.50. 

Raggedy Ann and Andy and 
the Camel with the Wrinkled 
Knees. A Classic Collectible 
Pop-up. By Johnny Gruelle. 

Kees Moerbeek, paper engineer. 
October, 2003. 14 pages. Little 
Simon. 0-689-85775-6. 

Richard Scarry's Book of Big 
andLittle. October, 2003. Simon 
& Schuster . $7.99. 

Snappy Little Hugs. December, 
2003. Silver Dolphin Books. 
$12.95. 1-59223-117-9. 

Snappy Little Monsters. September, 2003. Silver Dolphin 
Books. $12.95. 1-57145-986-3. 

Snappy Little Snowtime. October, 2003. Silver Dolphin Books. 


Super Sue. Candlewick Press 14 
pages. $7.99. 0-763-62063-7. 

The Three Little Wolves and the 
Big Bad Pig Pop-up. By Eugene 
Trivizas, Helen Oxenbury 
(Illustrator). September, 2003. 8 
pages. Egmont Books. £14.99. 

The Very Lazy Ladybird: A 
Pop-up Story. U.K. Little Tiger 
Press. £7.99. 

Where's Boo? At the Farm. 
Lift-the-flap and Pop-up Books. 
September, 2003.12 pages. 
Egmont Books. £4.99. 



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